I am an independent Wiltshire-based designer/maker; everything I produce is made entirely from reclaimed materials. I provide a range of kitchen accessories, such as potstands and bottle stores, as well as a variety of beautiful candleholders. I also produce bespoke storage solutions to enable customers to use awkward spaces in their homes, to transform them into practical and stylish areas.
I am always happy to accept commissions and can realise solutions for any request. Products can be made to a specific request if required.
I am always happy to accept commissions and can realise solutions for any request. Products can be made to a specific request if required.
In terms of design, I don’t see why reclaimed materials need to be necessarily limited to rustic or naïve treatments. The reasons that I use reclaimed materials are: firstly, it's expedient, or even essential, that we re-use materials destined for destruction if they still have much more life in them. Beyond that, though, the geometric patterns that I imprint into my products wouldn't work on unblemished materials - I find objects made from perfect, new wood curiously flat, and remote, in the same way that architectural painted steel posts are remote and cold in comparison to a seventeenth century oak beam, freckled with centuries of insect assaults and idly-carved initials.
I find perfect geometry cold; nature uses it as its blueprint but the results are never anything but an organic interpretation of the original (the da Vinci drawing of a beehive that I use for my logo neatly conveys the way that geometry is interpreted by nature). So for me the accidental 1/2mm drift of a pilot hole, or the slight movement of a geometric element because it coincides with a tough piece of xylem in the wood help convey the pleasing aesthetics of hand-made construction. I find faults strangely reassuring and reassuring, and far more beautiful and tactile than what is offered by the rigidity of perfect geometry. I find machine-produced objects heartless and oppressively silent; what I hope I produce are things that possess the warmth of life and humanity.
I find perfect geometry cold; nature uses it as its blueprint but the results are never anything but an organic interpretation of the original (the da Vinci drawing of a beehive that I use for my logo neatly conveys the way that geometry is interpreted by nature). So for me the accidental 1/2mm drift of a pilot hole, or the slight movement of a geometric element because it coincides with a tough piece of xylem in the wood help convey the pleasing aesthetics of hand-made construction. I find faults strangely reassuring and reassuring, and far more beautiful and tactile than what is offered by the rigidity of perfect geometry. I find machine-produced objects heartless and oppressively silent; what I hope I produce are things that possess the warmth of life and humanity.